Moviegoing (Pandemic) - April (Final)

And now, one year and one month later, I have wound down my pandemic-spurred moviewatching (I of course will continue to watch films and TV shows avidly), to conclude with the following films I shoehorned in during a very busy April. It was almost a blur, but I did remember to write down the following films and shows. Please do share your thoughts about any of these films or entries, throughout the entire past year, in the comments!

April's films:

Señorita* (a trans gem from the Philippines, by Isabel Sandoval)

Yellow Fever* 

Caught

Monkey Business*

Horse Feathers*

Relic (1, 2, 3, 4)*

Charles and Lucie* (a Nelly Kaplan film, my first introduction to her work)

A Very Curious Girl* (Kaplan's feminist masterpiece)

Papa, the Lil' Boats*

Watermelon Man* (I'd seen this a few times in the past) 

How to Take a Bath

Lovers & Lollipops

The Homecoming* (rewatched this)

Outside the Wire* (Damson Idris & Anthony Mackie + SF = worth it)

Monsoon* (Henry Golding's & Parker Sawyers's characters in love - well done)

Lime

Copa 181 (It needed a bit more depth, but interesting nevertheless)

Dr. Strangelove*

Guilt 

Moviegoing (Pandemic) - March (One Year)

So one year has passed--one year of the pandemic (which actually arrived in the US in December 2019 or perhaps January 2020, to be a bit more factual--since I began recording the films I watched during the dog days of Covid-19's devastating rampage, which is not over, let me state in no uncertain terms, though we now have more effective vaccines and greater knowledge about how it spreads, infects, and so on. As I noted in March of last year, I began watching films (I always watch TV shows) because I was struggling to read for pleasure or get through anything not work-related and thus required; my anxiety was off the charts but I found I could sit through films. I have catalogued thus far many of the ones I watched, though I'm sure I missed quite a few few, but reviewing the list, it really represents quite a range in terms of style and approach, with a strong emphasis, as I noted last year, on features and shorts, and far less on documentaries. (My cinematic mind is akin to my literary one, it seems, with a preference for poetry and fiction over nonfiction.)

Here is my list for March of this year:

One Night in Miami* (imagine Dr. King, Muhammad Ali, Malcolm X, and Sam Cooke all convened for one night in Miami -- enough said)

You Only Live Once* (the 1937 version, not the more recent one)

A New Leaf (this movie, directed by Elaine May, is so odd and awful it's actually quite interesting)

The Palm Beach Story* (Claudette Colbert, Joel McCrea, classic Hollywood divorce shenanigans)

Song of Freedom* (beautiful Paul Robeson film)

Rock 'n Roll High School* (an old fave)

Boneshaker* (a short, by Nuotoma Bodomo)

The Pleasure of Love* (Oh, Nelly Kaplan....!)

Other People (Molly Shannon is the main reason to watch this)

The Lady Eve* (Barbara Stanwyck & Henry Fonda one of her iconic roles)

Sullivan's Travels* (Veronica Lake in one of her iconic roles)

The Legend of Nigger Charley* (Fred Williamson stars as an escaped, self-empowered enslaved man, pursued by a bounty hunter)

Sergeant Rutledge* (Woody Strode in a career-defining performance as a soldier accused of raping a White woman)

Posse* (an old fave)

Kevin Jerome Everson films* - We Demand, Fastest Man in the State, Black Bus Stop

Owusu films* - Drexciya, Reluctantly Queer, Pelourinho: They Don't Really Care about Us

Plastic Bag* (Rahmin Bahrami's short about a...a plastic bag)

Putney Swope* (a successful racial satire of the kind we rarely see today)

Queen of Diamonds (Nina Menkes film, did little for me)

Permanent Vacation* (an early Jim Jarmusch film that gives a glimpse at what was to come in his work, as well as the New York of its era (1980))

The Reflecting Skin* (a vampire movie with a twist - eerie & refreshing)

The Inland Sea* (visually striking film about one of Japan's interior seas)

Insignificance* (Nicolas Roeg's unusual film that somehow works)

Love The One You're With* (the 2021 Black gay Sampson McCormick film about a couple's dying relationship)

Red Carpet, Hashtags & Heartbreak (a Black gay dramedy)

[Wyatt Cenac's commentary on Criterion Channel] 

Moviegoing (Pandemic) - February

I posted a bit on my Blogaversary (Blogiversary?), not too long ago, so I will keep this entry brief. Every day of almost every week day this month was packed with one thing or another, I have been Zooming nonstop yet sitting still (go figure), chairing, conducting remote readings, and so forth. I also have a new book (poetry!) in the works for later this year (wish me luck!).

Here's February's list:

Lupin* (series - I could watch Omar Sy in anything but this was an immense treat)

Plutão (short)

Urano* (Brazilian short by Daniel Nolasco)

The Breeding* (Extremely disturbing, on many levels)

The One You Never Forget* (tender queer short)

Gay Agenda films on HereTV: Bill & Robert, Diary Room, Floss

My Culture (Mario Bobino film, not super memorable)

Pretend It's a City (Scorsese & Leibowitz - it got a bit tiresome after a while, though I'm a fan of his and hers)

The Tall Target* (a historical thriller, starring Dick Powell & Adolphe Menjou & directed by Anthony Mann about a thwarted attempt to assassinate Abe Lincoln)

Ghost Dog, The Way of the Samurai* (an old favorite)

Thomasine & Bushrod* (Gordon Parks' take on the western, starring Vonetta McGee and Max Julien, star of The Mack)

A Season in France* (my introduction to Mahamet- Saleh Haroun & one I highly recommend)

Abouma* (another Mahamet-Saleh Haroun success)

Cotton Comes to Harlem* (Chester Himes' detective novel vividly realized, starring Godfrey Cambridge & yummy Calvin Lockhart & Raymond St. Jacques, directed by Ossie Davis)

Take a Giant Step* (Philip Leacock's 1959 film about a Black teen coming of age in a racist environment, the film stars Ruby Dee, Beah Richards, Estelle Helmsley and budding singing star Johnny Nash ("I Can See Clearly Now"))

Daratt* (translating to Dry Season, this is one of this Mahamet-Saleh Haroun's masterpieces)

A Screaming Man* (another haunting & remarkable film from Mahamet-Saleh Haroun, Chad's gift to the world of filmmaking)

Pressure* (Horace Ové's powerful portrait of 1970s Black London/Britain)

Celebration* (YSL documentary - very good)

The Brother from Another Planet* (an old fave)

Black Lightning* (series, new season - love love love) 

Moviegoing (Pandemic) - January

A new year has begun and we are already at the end of its first month, though not without drama. On January 6, 2021, supporters of DJT attempted to storm the Capitol and overturn a legitimate election in which Joe Biden and Kamala Harris soundly and roundly defeated DJT and Mike Pence. In addition to extensive damage, several dead cops, one dead coup participant, unfulfilled threats to kill the sitting Vice President (some of the coup participants erected a gallows outside the Capitol and others chanted "Hang Mike Pence") and extensive destruction to the buildings, as DJT watched on, failing to quell the violence, the House and Senate were able to certify Biden's victory and he is now President of the United States. Covid-19's strains are still raging, but there are vaccines, social distancing continues, we have adapted in ways large and small at home, at work and in the wider world, and while we're not out of the abyss, there seems to be path upward and forward. My January films included:

Hasaki Ya Suda*

Twaaga*

The French Lieutenant's Woman* (I read Fowles' novel before I saw the film years ago & both, I must say, are very good)

Ministry of Fear*

The Age of Swordfish

Easter in Sicily

The Pub

Snuck Off the Slave Ship*

Lo Cal Hero

Frantz Fanon: Black Skin, White Mask

Les Saignantes* (I want to see much more by this director)

Yeelen* (remarkable)

Phoenix

White Elephant

Zumbi Child*

Blackmail

Kill List

Sorry We Missed You

Draw Me Now

Intimate Stranger

Space Is the Place* (I love Sun Ra & this film)

Marianne & Julianne

Mon Oncle*

Date with Dizzy*

Moonbird*

Dadli*

Flores* (I watched it again, it's short & beautiful)

Money Movers

Rome, Open City* (a classic)

Persona* (I have watched this film maybe 10 times!)

Poetry In Motion*

The Grass Is Always Greener

What Women Want: Gay Romance

Living for the Weekend* (series)

The Boys of Rio

Stranger than Paradise* (an old fave) 

Moviegoing (Pandemic) - December

It seems almost unreal that 2020, this tumultous year, is coming to an end. There are positive signs on the horizon when it comes to Covid-19--vaccines, with more on the way!--though we are still not out of the woods. The same is true with the US as a whole; it remains to be seen if DJT will leave office peacefully, since he has continued to claim the election was stolen--it wasn't, he lost handily--and the recovery, on every level, after four years of his tenure, particularly the horrendous year that just concluded, will require a herculean effort. I did keep watching movies during December (Criterion featured an Afrofuturist-focused curated set to end the year) and here they are:

Crumbs* (Miguel Llansó's post-apocalyptic trip across the Ethiopian desert)

My Culture

T

Afronauts* (a reimaging of the space race from a Zambian perspective)

White In, Black Out* (one of Brazil's most exciting young Afro-Brazilian filmmakers, from Brasília & a revelation) 

Robots of Brixton* (a short triumph from Kibwe Tavares)

Ballad of Genesis & Lady Jane* (documentary about Genesis Breyer P-Orridge & his wife Lady Jaye's ongoing Pandrogyne project)

The Awful Truth* (classic screwball film centering on divorce & featuring Cary Grant and Irene Dunne - what's not to like)

Zombies*

Once There was Brasilia* (another Adirley Queirós film that rocked my world)

The Changing Same* (a gem from Cauleen Smith)

Entertainment* (Rick Alverson's portrait of a truly bizarre, broken comedian)

The Becoming Box (Afrofuturist short)

Hannah Arendt* (severe but effective, from Margarethe von Trotta)

Torch

Jonah* (Kibwe Tavares's short featuring Daniel Kaluuya and playing off the Biblical story)

Holiday* (Katharine Hepburn is so peppy & brittle in this film it's unreal)

1968 < 2018 > 2068* (Keisha Rae Witherspoon's 7-minute meditation on the future)

The Go-Between* (one of my favorite Joseph Losey films, starring Julie Christie, with a Pinter screenplay, and tackling the potentially dire ramifications of the intersections of class and desire)

The Eloquent Peasant* (Chadi Abdel Salam's short set in around 2160 BC)

To Die Like a Man (João Pedro Rodrigues's take on a trans woman's attempt to grapple with her past and present)

The Undoing (a Ryan Crepack film I didn't full vibe with)

Four Women* (Julie Dash - I wish she'd gotten so much more money & support to direct so much more)

Illusions* (a Julie Dash fave)

Pool Sharks* (WC Fields)

The Golf Specialist (WC Fields)

Queen Sono* (I enjoyed the series but felt it should have been extended)

Cat People* (I saw the 1982 version when it debuted & later the Jacques Tourneur version, which was this one - I like it better than the update)

The Legend of Rita* (another Schlöndorff political thriller that was really well written & directed & gave a sense of the stakes of ultraradical politics)

The Ogre (nowhere near as good as the Tournier novel)

Tchoupitoulas* (a documentary about seeing New Orleans, from the perspective of three young Black New Orleanians)

Wild Strawberries* (Bergman is so severe but so talented)

Caché* (a Haneke psychological thriller that's unsolvable through logic)

The Best Man* (the Schaffner film from 1964, written by Gore Vidal, based on his play, not the later romantic comedy starring Taye Diggs, which I also love)

The Public Enemy* (Jimmy Cagney, in one of his best roles, as a White street hustler who attempts to rise in the world of organized crime)

The Comedy* (I cannot state enough how disturbing this film, by Rick Alverson, truly is; it is White male trolling elevated to the level of art)

The Body Beautiful (Ngozi Onwurah's short about her White mother's experience with breast cancer)

The Chase (Brando & Jane Fonda, directed by Arthur Penn, written by Horton Foote & Lillian Hellman - still fell a bit flat for me)

My Favorite Wife (more Cary Grant & Irene Dunne)

Industry* (series)

Cheer* (series)

Catharsis (I think this is the Cédric Prévost film about filmmaking and spectatorship--but I can't remember beyond writing the name down)

 

Moviegoing (Pandemic) October-November

I've already blogged about the election, which turned DJT out of office (if he leaves, that is, for which there is no guarantee) and will bring back Joe Biden, this time as president, with Kamala Harris as VP. So much else has gone on over the last few months that I basically smushed the two together, so instead of individual entries for October and November, here's my tally for both months. It's a long list, but an interesting one. One thing I'll note again is that it was refreshing to see both Criterion Channel and Amazon Prime respond, in their differing ways, to the Floyd murder and the Black Lives Matter push, with diverse and unexpected offerings. What remains to be seen is how long this lasts. The other streaming channels (Netflix notwithstanding), like the cable TV ones, need to up their games.

My list for the two months:

Beau Travail* (an old fave)

Career Girls* (I'd always heard about this film & it was worth the wait)

Suburbia (a 1984 Penelope Spheeris that felt less engaging than many films from that era on a similar theme)

Tomboy* (one of Céline Sciamma's best)

Viridiana* (a film of considerable formal and plot restraint that is nevertheless quite outrageous)

Luminous Motion (Bette Gordon realist film from 1998)   

Variety* (I watched it again!)

Born in Flames* (Lizzie Borden's masterpiece, IMHO)

Calendar* (Atom Egoyan film about a woman who decides to stay in Armenia once her husband finishes his photographic assignment & heads home to Canada - visually striking & full of Egoyan's signature touches)

Lola Montès* (the Max Ophüls masterpiece I first read about years before actually being able to watch it; this was my 3rd viewing)

Henry Gamble's Birthday Party (a good introduction to Stephen Cone's oeuvre if you haven't ever watched one of his films)

The Gates* (I saw this in real time--the exhibit inaugurated this blog!--& the film was a delight)

The Headless Woman* (by the director of La Ciénaga--I definitely want to watch this again)

Pauline Alone (one of my first introductions to the work of Janicza Bravo)

Salut les Cubains* (Agnès Varda, introducing viewers--me--to revolutionary Afro-Cuban filmmaker Sara Gómez)

Vitalina Varela* (a performance so searing you won't soon forget it--my favorite of Pedro Costa's films that I've seen so far)

Affirmations* (Marlon Riggs--love love love)

100 Boyfriends Mix Tape* (Brontez Purnell)

Lovecraft Country* (series)

Two Drifters (a João Pedro Rodrigues film from 2005; not among my top films by him but suitably strange and full of unexpected twists)

A Drop of Sun Under the Earth* (Shikeith Cathey's marvelous short)

Anthem*

The Joy of Life* (Jenni Olson's lesbian hymn to San Francisco)

2001: A Space Odyssey* (one of my all-time faves)

Mildred Pierce* (Joan Crawford's greatest role)

The Ornithologist* (the incomparable João Pedro Rodrigues at his best--utterly bizarre and unpredictable yet still able to weave everything together)

O Fantasma* (Rodrigues's first major international success & one I've seen many times now)

Videodrome* (an old Cronenberg fave)

The Lost Honor of Katharina Blum* (jointly directed by Volker Schlôndorff & Margarethe von Trotte, this is a ironic political film in the best sense & one you seldom if ever get from Hollywood these days)

Burroughs: The Movie

The Night of Counting the Years* (Shadi Abdel Salam's version of The Mummy, but really a neo-realistic, groundbreaking essay in filmmaking)

Flores* (visually arresting)

Coffee Colored Children* (Ngozi Onwurah's experimental film about growing up mixed-race in the UK)

Jáaji* (Hopkinka films)

Anti-Objects of Space Without Boundaries*

Lore* 

A Spell to Ward Off the Darkness* (a Ben Russell film, starring Robert Aiki Aubrey Lowe -- whew!!!)

Terence Nance films*: Swimming in Your Skin Again, Their Fall Our All, No Ward, Jimi Could Have Fallen from the Sky, You and I and You

8th Continent* (compelling short about the aftermath of migrancy and refugee arrivals)

Buck Privates* (Abbott & Costello film - pure silliness)

Accident* (Joseph Losey's campus entanglement film, starring Dirk Bogarde, Stanley Baker, Michael York, Delphine Seyrig, and Vivien Merchant, with a screenplay by Harold Pinter)

Welcome to the Terrordome* (Ngozi Onwurah's groundbreaking SF film)

An Oversimplification of Her Beauty* (A Terence Nance joint, very inventive)

A Dream Is What You Wake From* (Third World Newsreel's documentary film about three Black women and their lives)

Tender Game* (animation by John Hubley)

Totally F***** Up* (perhaps my favorite Gregg Araki film & his most racially diverse - I watched it again)

Working Girls* (Lizzie Borden's feminist film about a young woman trying to fund her own business and the steps she has to take, including sex work, to get there)

The Dark Past* (William Holden vehicle about a psychopathic hostage taker, starring Lee J. Cobb as a psychiatrist)

Mangrove (Small Axe)* - (this and the other Steve McQueen mini-films are some of my favorites of his work. I wish he'd make many more)

The Homecoming* (an adaptation of Pinter's brilliant, frightening play--I'm a huge fan of Pinter's but I appreciated this cinematic adaptation)

Vente et Loquamur (Hopinka)

Wawa (Hopkina)

When You're Lost in the Rain (Hopinka)

The Crown* (series, Season 4 - when is this show never not entertaining?)

The Wise Kids (another Stephen Cone film)

Portugays* (O Ninho) (A series about queer 20-somethings in Porto Alegre, Southern Brazil)

Conframa* (series, new season)

Freefall

Borat

 

Moviegoing (Pandemic) - September

The number of films & series I watched this past month dwindled to its lowest level since March, for a range of reasons, not least my slow and steady recuperation, though an ultrasound late this month showed healing (thank the gods). The pandemic rages, classes have begun, online, I have new colleagues in the MFA program, a new (longstanding but with a new position) colleague in Africana Studies, Rutgers-Newark has a new Dean of the School of Arts and Sciences, and Rutgers University (all three campuses) has a new president, Jonathan Holloway (I served on the committees that selected all of them). Fingers crossed things will work out OK in all cases.

As for the movies:

The Future (a Miranda July film that didn't hit)

The Third Generation* (Fassbinder's take on radical left politics in West Germany)

Town Bloody Hall* (the deliciousness of seeing Norman Mailer getting his public comeuppance drums on like a tattoo)

Zama* (the original di Benedetto novel is brilliant and Lucrecia Martel's adaptation is superb)

Duck Soup* (an old favorite)

Lost in America* (an old fave)

Princess Cyd* (a queer coming of age film by Stephen Cone)

The Wise Kids* (the first Stephen Cone film I'd ever watched)

Bacurau (this was hyped but fell flat for me)

La Ciénaga* (one of the month's highlights)

Personal Problems, Part 2*

Imagine the Sound* (an old favorite)

Black Narcissus*

The Last Tree* (Shola Amoo's exploration of a young Black man from rural England who moves to London)

Residue* (Meriwa Gerima's version)

Dames

Wolf* (Ya'ke Smith's 2012 film)

Before I Do 

 

Moviegoing (Pandemic) - August

It is hard to believe that August is here and gone. I have been hobbling around, having torn (or severely strained) a tendon behind my knee, and trying to avoid the heat, as well as Covid-19, which continues its rampage. This month I watched fewer movies and TV shows than any of the prior months, for a variety of reasons (see above), but I did watch at least 20, and here they are:

Bolden (I had been waiting on this one, in part because it starred Gary Carr and because of its long production history, and it was a bit of a bust)

Push Comes to Shove (a Bill Plympton animated feature)

Sun Don't Shine* (an Amy Seimetz film, full of mystery)

The Lonedale Operator* (a Guy Madden short, focusing on none other than John Ashbery, though not his poem of the same name)

Sabotage* (a still compelling thriller)

The Chant of Jimmy Blacksmith* (heartbreaking and powerful)

Rafiki* (a gem of African queer cinema)

Snows of Grenoble* (a documentary on the 1968 Winter Olympics, featuring one of the greatest skiers of all time, Jean-Claude Killy)

Suzanne, Suzanne* (Camille Billops's compelling 1982 documentary

Wolf (a bizarre film with lycanthropic elements I'd probably have to watch again)

Happy-Go-Lucky* (Mike Leigh's character study of a relentlessly happy teacher)

Losing Ground* (a Kathleen Collins fave & testament to her originality & talent)

Things to Come* (Isabelle Huppert in one of her better performances)

Personal Problems, Part 1* (Ishmael Reed's highly original series--what if independent series had taken off in this vein rather than the ones they did?)

Bill Gunn Interview*

Foreign Correspondent*

Gohatto* (my favorite Nagisa Oshima film--visually it's exquisite)

Don't Look Now* (haunting 1970s thriller)

Moviegoing (Pandemic) - July

145,000+ people in the US have officially died from Covid-19 and the totals of those who've gotten it once or multiple times far exceeds that number. The US continues to stagger forward, in crisis and chaos, under DJT's misrule. I kept up my moviewatching, though I tallied far fewer films this month than prior ones. Here's my July 2020 total:

Aguirre, Wrath of God*

Made in U.S.A.*

Detour

Their Own Desire

Red Road

The Human Factor

Between the Lines*

Me and You and Everyone We Know* (I loved this film when it came out but I felt a bit more critical of it this time through)

Love Is the Devil* (Francis Bacon!)

Sleepwalk

Soleil Ô* (Med Hondo's film was a highlight for the month)

Young Ahmed* (chilling but a sharp psychological portrait of fanaticism)

Dear Mom

Birthright

Zora Neale Hurston's Fieldwork Footage*

My Own Private Idaho* (an old fave)

Death in Venice*

Sidewalk Stories* (an old fave--so good)

Stille Nacht

In Absentia (the Quay brothers, enough said)

The Scar of Shame* (I first saw this in a Black film class in college)

Border Radio* (rewatched)

The Exile

Barbarella* (very light entertainment)

Company: The Original Cast Album* (I love this film and the musical as well)

Vazante* (a lovely historical film from Brazil, by Daniela Thomas)

The Lovebirds (Issa Rae & Kumail Nanjani but it didn't gel for me)

Mucho Mucho Amor: The Legend of Walter Mercado* (magnificent!) 

Black Lives Matter, Summer 2016: Sterling/Castile/Robinson--

Union Square, July 7, 2016
Photo © by Jack Mirkinson 

UPDATE: Tragedy begets tragedy...last night in Dallas, Texas, during a peaceful protest against the police killings of Alton Sterling and Philando Castile, a gunman or gunmen ambushed and shot five police personnel dead, and wounded 7 others. Also injured were two civilians, including a mother who was trying to shield her son from the bullets. Police officials identified the gunman, a 25-year-old African American US Army reserve member and veteran, Micah Xavier Johnson. The shooter allegedly was angered by the killing of black people and wanted to target white police officers in retribution.

After a standoff with police, they sent in a bomb squad robot, armed with an explosive device, and killed him. Police and social media had initially misidentified the gunman as an African American man who had who was openly carrying his registered weapon. (This begs the question of whether open-carry and concealed weapon laws do not apply to or for African Americans, Latinxs, and others, and only for white people.)

I mourn the deaths of these officers, and continue to grieve for the people I list below who were killed by the police or in police custody. The answer is not more violence, but an end to it all, and if that means that we have to rethink and then rebuild the very foundations of this society, built on domination, violence and oppression, then we must do it. But peacefully. And that means we have to begin by addressing one of the root problems in all of these deaths: guns, and their easy availability in the US.

On and on and on it goes. State-sanctioned police murders of black people. Veterans, lunch room workers, fathers, daughters, loved ones, people seeking medical help. Supply the category and someone searching through the roster of those slain can find a name to fit. This has occurred my entire life, in various forms, usually leading to marches and protests, calls for accountability and legal and technological changes, prosecutions of the police (which rarely happens), and occasionally, as happened in Ferguson and Baltimore, as in Miami and other cities in the past, uprisings. It is no less painful to witness, to live through today than it was when I was a child or teenager.

These last few weeks, these last few days, have filled with the names of the newly dead: Alton Sterling in Louisiana. Philando Castile in Minnesota. Angelo Brown and Stephanie Hicks in Illinois. Darius Robinson in Oklahoma. As the Guardian's statistics show, over 566 people have been killed by cops or while in police custody this year. The Huffington Post points out that 136 black people have died at the hands of cops. The highest rate in 2016, 3.4 per 1 million people, is among Native Americans, with African Americans dying at only slightly lower frequency at 3.23 per 1 million people. As horrifying as last year's numbers were, this year's should give us pause to reflect, and a charge to act.

I've written on here before about how these deaths represent a slow genocide playing out before our eyes--or some of our eyes--and how what these state-sanctioned killings, which mirror the state's brutality elsewhere in the world, underline again and again, as the Black Lives Matter movement has pointed out, is how dehumanized and disposable black people--and brown people--remain in this society, a fact that not only the Donald Trump campaign's imagery, rhetoric and surrounding discourse testify to on a regular basis, but also the toothless responses from Democrats and Republicans alike. (As BREXIT, the rise of the nationalist right in Europe, the Brazilian coup and state-sanctioned police killings there of black youth and teenagers, the fanatics in the Middle East, and so on make clear, the same could be said for the globe as a whole.)

While technology has allowed witnesses to these state killings to record and broadcast via social media imagery of what occurred, offering proof to what has too long been viewed by people not directly affected as mere anecdote or exaggeration and creating documentation, as well as a space for witness, memorialization and mourning, I also think that the subsequent hyper-circulation and replaying, as the news media often do, of the deaths can habituate and inure us to the deaths of these victims and magnify the suffering their loved ones feel, while only increasing the centuries long trauma at the core of this society. We have to look directly at what is happening, but to the extent possible, avoid turning these tragedies into spectacle. Moreover, they attest that our melancholia and fear are not groundless; it arises from the danger and blood that saturates the very ground we walk on every day. Many of us rightly fear that we are a cop's bullet or baton away from becoming a meme and statistic.

These deaths also underpin the ironic force and truth at the core of the statement that cannot be proclaimed enough, "Black Lives Matter." That this statement of affirmation has been turned inside out points to the perverse social and political logic in which we live. Like the deaths, the iconic phrase, and the movement that has arisen around it, demands that we realize and act upon the truth in the statements STOP KILLING BLACK PEOPLE & STOP KILLING US!

Here is a powerful poem by Jericho Brown that captures the horror and tragedy of these state-sanctioned killings and deaths in a way that only poetry can. The poem is called "Bullet Points," and I have borrowed it from Buzzfeed, where I first saw it. The copyright is Jericho's and Buzzfeed's.